Category Archives: lexicon

Word of the day

I’ve always kept an ear cocked for portentious words, those with more space on their insides than their exteriors might suggest. Sometimes they’re uncommon words, like mendacity or nugatory or tendentious… words that facilitate well-honed calumny, and (truth to tell) suggest that I am more literate than thou. Other words in the land of portent are more broadly familiar, but encode niceties of expression and fine distinctions of meaning, accessible to connoisseurs; Raymond Williams’ Keywords: A Vocabulary of Culture and Society, W.V. Quine’s Quiddities: An Intermittently Philosophical Dictionary, and Collins and Glover’s Collateral Language: A User’s Guide to America’s New War are three lexicons of this sort of verbal tesseractitude, each a catalog of explications rather than a collection of definitions. And of course there are portmanteau words and other idiosyncratic coinages, of which H. Dumpty famously said “I pays them extra and I makes them mean what I like”.

Today’s case-in-point has been tumbling in my consciousness all day today, gathering momentum as an explanation or enlargement of an issue that’s been on my mind: prestation is the word, and the issue at issue is my own long-running habit of (seemingly) giving away collations of information –texts, lists, sound files, images, books– on the slimmest of pretexts. “Informing others against their will” as my sigfile says, but what is it that lies behind this proclivity of mine? And whence cometh it, the behavior and the mot juste alike?

I first encountered the term ‘prestation’ in a graduate school course, not one I took myself but one that good friends of mine were in and talked about, in the way we talked about stuff in those dear dead days. The term is (and isn’t it obvious) French, and figures prominently in the work of Marcel Mauss. Here’s a nicely anonymous summary from Wikipedia, which saves us all a lot of time:

In his classic work The Gift, Mauss argued that gifts are never “free”. Rather, human history is full of examples that gifts give rise to reciprocal exchange. The famous question that drove his inquiry into the anthropology of the gift was: “What power resides in the object given that causes its recipient to pay it back?” (1990:3). The answer is simple: the gift is a “total prestation”, imbued with “spiritual mechanisms”, engaging the honour of both giver and receiver (the term “total prestation” or “total social fact” (fait social total) was coined by his student Maurice Leenhardt after Durkheim’s social fact). Such transactions transcend the divisions between the spiritual and the material in a way that according to Mauss is almost “magical”. The giver does not merely give an object but also part of himself, for the object is indissolubly tied to the giver: “the objects are never completely separated from the men who exchange them” (1990:31). Because of this bond between giver and gift, the act of giving creates a social bond with an obligation to reciprocate on part of the recipient. To not reciprocate means to lose honour and status, but the spiritual implications can be even worse: in Polynesia, failure to reciprocate means to lose mana, one’s spiritual source of authority and wealth. Mauss distinguished between three obligations: giving – the necessary initial step for the creation and maintenance of social relationships; receiving, for to refuse to receive is to reject the social bond; and reciprocating in order to demonstrate one’s own liberality, honour and wealth.

Hmmm, I think. Is this what I do, what I’ve always done, as long as I can remember? When I point somebody to a website (or, often enough, a whole bunch of websites) or press upon them books or inveigle them into listening to “just a few” musical examples or otherwise foist bits of my knowings upon them, is there a subtext of demand/desire for some kind of reciprocation? And have I known this for 40+ years, but never realized it as a recurrent pattern? Is this an essential part of my disquietude with teaching –that I wanted and expected and even craved reciprocal engagement from students and colleagues? Was I somehow wounded or disappointed when the response to my ‘gift’ was silence or indifference or bafflement or “will this be on the exam?” Yup, all that rings true, and it’s interesting to find a sort of resolution, and to recognize why the sigfile motto pleases me so.

Once I’d decided to hunt down the quiddity of prestation, I was launched on just the sort of sport I most enjoy, chasing through Google search results and the print resources in my home library, and of course through my own organic memory banks too. Dictionary definitions are basically pedestrian, and even the OED is rather pallid:

…a payment …especially a feudal due… The action of paying in money or service, what is due by law or custom, or in recognition of feudal superiority; a payment or the performance of a service so imposed or exacted; also, the performance of something promised…[but the Supplement adds a specifically anthropological sense]

A gift, payment or service that forms part of some traditional function in a society, given or due either to specific persons or to the group.

The term shows up in only a few sources in English, e.g. in the subtitle of Gloria Goodwin Raheja’s The Poison in the Gift: Ritual, Prestation and the Dominant Caste in a North Indian Village. It’s all over the place in French, not too surprisingly, mostly in the fiscal sense. And it even appears on t-shirts:

prestation
So I’ve happily flushed several hours of this afternoon tilting at the windmills of the mind…

undergrowth? stain? blot? speck? disgrace?

Teju Cole’s Google’s Macchia in The New Inquiry is an inspiring blog posting on several levels: a nice exposition of ideas about directions in contemporary photography, a meditation on activities that I’m only beginning to notice

…the various artists who have appropriated Google Maps’ Street View and Google Earth, extending the practice of found imagery and the readymade to the images discovered on the computer screen. These Google-based photographic practices are forms of counter-surveillance, and in part what they do is show that a photography of ideas can accommodate different kinds of images…

and a lovely example of the power of the blogging medium. And the post delivers something I didn’t know:

In Naples in 1868, Vittorio Imbriani published a pamphlet entitled La quinta Promotrice. In this now almost forgotten text, he advanced a peculiar theory of art that centered on the color patch or, in Italian, the macchia (the word literally means stain or spot). According to Imbriani, the macchia is “the image of the first distant impression of an object or a scene, the first and characteristic effect, to imprint itself upon the eye of the artist.” It is, in other words, the total compositional and coloristic effect of an image in the split second before the eye begins to parse it for meaning. Imbriani was writing against the academic idealists of his time, who were obsessed with categories of style and execution. “Every painting must contain an idea,” Imbriani wrote, “but a pictorial idea, not just a poetical idea.” And for him, this pictorial idea was a matter of “a particular organization of light and dark from which the work takes its character. And this organization of light and dark, this macchia, is what really moves the spectator… Equally in music it is not the attached words, the libretto, but the character of the melody that produces emotion in the listener…”

I did a bit of searching around macchia, starting with wiktionary, and was directed (by Google, natch) to this from Dale Chihuly’s website:

…Since the Renaissance, macchia has been associated with a sketchy way of applying the initial color to a drawing or painting… In the seventeenth century, macchia designated the special quality of improvisational sketches that appear to be nature’s miraculous creation rather than mere human work… encapsulate[s] the concept of the spontaneous outpouring of artistic sensibility…

Says Cole,

I am now using Search By Image for my own personal color studies, for my own understanding of the color patch, and I don’t know what might come of it. I’m watching to see what other photographers and artists can create using this latest manifestation of Big Data. As usual, they will have to navigate between the Scylla of copyright issues and the Charybdis of “that’s bullshit, not art.”

Much to chew upon here.

Concise advice

from World Wide Words:

Let your conversation possess a clarified conciseness, compacted comprehensibleness, coalescent consistency, and a concatenated cogency. Eschew all conglomerations of flatulent garrulity, jejune babblement, and asinine affectations. Let your extemporaneous descantings and unpremeditated expatiations have intelligibility, without rhodomontade or thrasonical bombast. Sedulously avoid all polysyllabical profundity, pompous prolixity, and ventriloquial vapidity. Shun double-entendre and prurient jocosity, whether obscure or apparent. In other words, speak truthfully, naturally, clearly, purely, but do not use large words.
[Notes and Queries, 11 Feb. 1893.]

(see here for more)

On flappers

I remember vividly the umbrage my mother (born 1899) gathered up, expressed and projected in my direction when I [quite innocently] asked if she’d been “a flapper” back in the day. “Certainly NOT!” I think she said, but the withering tone was beyond any I think I’d ever encountered. A few minutes spent with The Flapper’s Dictionary is probably as close as one can get to understanding her animus. She was a person of considerable rectitude, inclined to take moral turpitudes Seriously: with eloquent fluttering of the eyelids she declared Sophie Tucker’s songs “suggestive” (and so they were, deliciously). Very early on, I learned which of my own realities to protect her from…

Hydrocoptic marsel vanes

Two versions, via McGee’s Musings: N.B. we’re dealing with “prefamulated amulite… hydrocoptic marsel vanes are properly fitted to the ambifacient lunar wane shaft… successfully used for operating nofer trunnions… whenever a barescent skor motion is required, it may be employed in conjunction with a drawn reciprocating dingle arm to reduce sinusoidal depleneration…”

Fidimplicitary: A Word for These Times

One of my weekly pleasures is Michael Quinion’s World Wide Words Newsletter, available for (free) subscription via worldwidewords.org, but footnoted with this chastening injunction:

This formatted version of the newsletter is intended for the private use of subscribers. Please do not reproduce it in this format in whole or part on any Web site or post a link to this page without the prior permission of the author.

OK, fair enough, that’s how MQ wants it, and I encourage you to subscribe, for sure. Each week brings several gems of Wordstuff, just the thing for those of us who fancy a bit of orotundity now and again. This week’s toothsome Weird Word is Fidimplicitary, which Quinion glosses as “Putting one’s faith in someone else’s views”, a phenomenon not unknown in campaign season… He goes on to trace the word to a coinage of Sir Thomas Urquhart (1652), reprinted (thanks to Google Print) in The Works of Sir Thomas Urquhart of Cromarty, Knight (“92 copies printed, some on large paper”, this one from Oxford’s library), in a section headlined as “Logopandecteision” (page image). Here’s some of the text, with especially juicy bits bolded:

60. If any officious critick will run to the omnipotency of God for framing more worlds, according to the common saying, Nothing is impossible to God, that implies not a contradiction, so must he have recourse to the same omnipotent power for furnishing of man with other speech-tools then his tongue, throat, roof of the mouth, lips, and teeth, before the contexture of another universal language can be warped.

61. That I should hit upon the invention of that, for the furtherance of philosophy, and other disciplines and arts, which never hitherto hath been so much as thought upon by any, and that in a matter of so great extent, as the expressing of all the things in the world, both in themselves, actions, ways of doing, situation, pendicles, relations, connexions, pathetick interpositions, and all other appurtenances to a perfect elocution, without being beholding to any language in the world ; insomuch as one word will hardly be believed by our fidimplicitary gown-men, who, satisfied with their predecessors’ contrivances, and taking all things litterally, without examination, blaterate, to the nauseating even of vulgar ears, those exotick proverbs, There is no new thing under the sun, Nihil dictum quod non dictum prius, and, Beware of philosophers; authorizating this on Paul, the first on Solomon, and the other on Terence.

62. But, poor souls, they understand not that in the passage of Solomon is meant, that there is no innovation in the essence of natural things ; all transmutations on the same matter, being into forms, which, as they differ from some, so have an essential uniformity with others pre-existent in the same kind.

63. And when it was said by Paul, Beware of philosophers, he meant such sophisters as themselves, who, under the vizzard of I know not what, corrupt the channels of the truth, and pervert all philosophy and learning.

64. As for the sayings of Terence, whether Scipio couched them or himself, they ought to be inferred rather as testimonies of neat Latine, then for asserting of infallible verities.

65. If there hath been no new thing under the sun, according to the adulterate sense of those pristinary lobcocks, how comes the invention of syllogisms to be attributed to Aristotle, that of the sphere to Archimedes, and logarithms to Napier? It was not Swart, then, and Gertudenburg, that found out gunpowder and the art of printing, for these two men lived after the decease of Solomon.

Quinion points to an article entitled “Fragment of a Literary Romance”, in an issue of Blackwood’s Edinburgh Magazine from 1817, for another instance of fidimplicitary, this time modifying coxcombs, they “who fill our too credulous ears with their quisquiliary deblaterations”, and Google Print comes through again with the relevant passage:

([says the author] I have attempted here an imitation of the extraordinary style of Sir Thomas Urquhart, a man of genius, as none who have perused his inimitable translation of part of Rabelais will be disposed to deny, or his extraordinary account of the murder of the admirable Crichton, in his tracts (under the one named the Jewel), but in other respects of the most ridiculous pretensions, and these conveyed in the most quaint and unintelligible phraseology, as every one who has turned over his Introduction to a Universal Language will most readily allow. Most of the singular words in this speech of Sir Thomas are either sanctioned by his own authority, or coined according to those rules he seems to have adopted. both orderly digested and aptly conceived.)

“Truly, sieur,” replied Sir Thomas, “your observations on those antiquated times, as they are now called by those shallow and fidimplicitary coxcombs, who fill our too credulous ears with their quisquiliary deblaterations, appear to me both orderly digested and aptly conceived. We have lived, sir, in those great eras, those commendable measurements of the regent of this diurnal microcosme, those exalted periodi, by which the sagacity of the sapient philosophunculi of this rotundal habitation, hath measured the unceasing rotations of the caelicolary spheroids, in those times, seignior, when the old were respected, arid in all estimation —the young sweet and judicious —the married women decorous rather than decorated, grave as well as gravidae —the virgins pure and pitiful —the youth becomingly silent, and more given to listen to the legislative or literatorie discussions of their elders, than to any cunning tricks or vulpicularic conundrums, to the jeers, gibes, mopes, quips, jests, or jerks of their simiatick companions. Gallantry, sir, (said he, turning to me) or the exalted science of demulceating the amiable reservedness, and overcoming the attractive pudicity, of the gentler sex, by the display of rare and excellent endowments [sic!], was a discipline worthy of the accomplished chevaliers of these most memorable eras.”

lolcat

Fairly often I’m gobsmacked by the complexities of things I knew just a bit about. Latest case in point: the perhaps-fatuous domain of lolcat, referenced in today’s Language Log. I mean, I did know about

but I didn’t grasp its deeper significance. See more on the harbl meme… and a couple of hours later, LOL-Kitteh as a Second Language (LKSL-101) in Five Easy Steps, via The Lexicographer’s Rules. Whatever NEXT?